outward grace, and of a style that is true to general or ideal humanity as well as to the individual. He unconsciously avoided in his own practice the expression of abnormal and morbid moods, and even drew back from the embodiment of poignant pathos. In his own nature there was a marvelous buoyancy united with hearty religious earnestness, and the fields of composition in which he succeeded best were those in which these were reflected. His technical expertness and flow of creative inspiration were happily adequate to make the expression of these qualities efficient in offsetting tendencies in which they were lacking. And to his personal influence Mendelssohn added the massive and continued power of the several organizations and institutions with which he was identified, so that the effectiveness of his ideas was larger and more lasting than through his work as an individual.
Mendelssohn is also to be remembered, like Handel, for his strong impress upon the progress of music in England. From the first of his eleven trips thither (1829) he was idolized by musicians and public, and became the model upon which for half a century almost all English musicians sought to shape themselves. Although perhaps this fact resulted in a one-sidedness of English style and taste during this period, the sterling value of the influence thus exerted cannot be gainsaid.
Felix Mendelssohn-Bartholdy (d. 1847) came of a wealthy and intellectual
Jewish family, which finally adopted Christianity. His grandfather was the
famous Moses Mendelssohn (d. 1786), the philosopher, Jewish historian and
Biblical student. Both his father and his cultivated mother were identified
with Berlin, though at his birth in 1809, the father was a banker at Hamburg.
All the circumstances of his youth were extremely stimulating. The parents
were deeply interested in training their four children, gave them fine tutors in
varied subjects, surrounded them with choice social, literary and artistic influences,
and led them early into a symmetrical and ample culture. The
eldest child was Fanny (d. 1847), and between her and Felix there was
always a peculiar comradeship. They were both precocious musicians, excelling
as pianists and composers, besides becoming accomplished in other
ways. Felix studied at Berlin under Berger, Zelter and Henning, and was
twice taken to Paris for lessons (under Mme. Bigot) or advice (from Cherubini).
Before he was 10 he had played in public in a trio, and at 12 was already a methodical
and fertile composer for the voice, the piano and other instruments.
His father provided expert performers to interpret his larger pieces, but not
till he was 16 consented to his taking music as a career. By this time he
was already acquainted with many of the ablest musicians of his time. He
